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Ali Zabihi,
Volume 0, Issue 0 (11-2023)
Volume 0, Issue 0 (11-2023)
Abstract
Tabari's written proverbs are often recorded as singulars in local history books, and they all refer to historical events and sidelines of the battles of Tabaristan or Mazandaran. These cases are classified as historical proverbs.
Time, place and persons are known and definite in these parables. Although these proverbs were common among the people of the region for several centuries; But none of them reached contemporary times and were only written in the same historical books.
Regarding the written parables of Tabari / Mazandarani, no suitable background has been written so far. This issue can be seen in the entry of encyclopedias and the beginning of published books and articles.
Most of the contemporary books that deal with Mazandarani parables are written for taste and patriotism; Therefore, despite the importance of such published works, this deficiency is observed in all of them. Considering the relative knowledge of the most important published historical and contemporary works, now this speech is the beginning of solving this deficiency.
Due to the historical nature of the article, the research method is descriptive and the method of collecting information is library.
Ali Khaleghi, Mir Jalaladin Kazzazi, Mahmod Bashiri,
Volume 9, Issue 37 (3-2021)
Volume 9, Issue 37 (3-2021)
Abstract
Understanding "myth" is very important in understanding society, people's behaviors, and beliefs. We know that myth usually changes throughout history, but it disappears gradually. "The Story of Fereydoun" is considered as one of the most important stories of Iranian myths and researchers have traced its mythological roots to the Avestan period, Vedic texts, and the myths of birth and battle of the demon of land. The god of rain is mentioned in this story as well. On the other hand, there are myths and stories among people that contain mythical themes, symbols and signs in various forms, and the study and analysis of these myths in tracing the origins of the mythical elements of society plays an important role. One of these popular stories is "The Story of Shahzid", one of the Imamzadehs of Amol city of Mazandaran, which has many similarities with the story of Fereydoun in its narrative structure, semiotic elements, and mythical symbols. In this article, these two stories are examined and analyzed together, and their mythological elements are identified. It was concluded that the two stories, there are some similarities in some events and symbols of the myths such as: cow, tree, forest, snake, healing drink, witchcraft and geographical location. Both stories originate from a source which is the "myth of birth" and the war between the god of rain and the demon of land.
Introduction
Some studies have been done on the mythical story of Fereydoun and its comparison with mythology, but they are not comparative with regards to a story from the post-Islamic period and Islamic myths.
The main question of the research is whether a connection can be found between the story of the myth of Fereydoun and the story of Imamzadeh Shahzid. Could this connection be based on a myth?
In addition to Shahnameh's narration of Fereydoun's story, the summary narration of the people of Mazandaran is that: Fereydoun's mother hides him in the forest in a crack of an old tree when he is born. Every day, the cow goes near the tree and Fereydoun, the child, drinks milk from the cow. The owner of the cow notices and takes the child with him. "The cow loved Fereydoun and allowed Fereydoun to ride him."
Zayd ibn Musa ibn Ja'far is one of the Imamzadehs of Amol. Imamzadeh, fleeing from the enemies to the south of Amol, takes refuge in an old tree in a mountainous and forested area. The cow is commanded by God to go to the tree every day so that the gentleman can milk it. Galesh notices and strikes him with an ax and runs away. The prince curses Galesh and the ranch is stoned with all the cows. The Galesh family is also displaced. According to the story, the prince was a four-year-old child.
It is said that the servant of Astana Shahzid seeks water on the way during prayers to perform ablutions. At the same time, a pitcher and rosary descends on him from the sky. Saif performs ablution from the water of the pitcher and prays next to the rosary. The pitcher disappears, but the rosary is removed safely, and whenever the disease comes, the rosary is put in some water and the rosary water is drunk by the patient. According to the villagers, there are two green snakes with a cockatiel on the guard of Shahzid threshold, its spring, atmosphere, and water reservoir.
Mythical elements
Cow: Cow has been one of the ritual animals in ancient Iran. In the story of Fereydoun and Shahid, the main point is milking a cow, which goes back to the "mother goddess" of cows and raising humans. Since the prince emerges from the crack of the tree, it can be a symbol of the womb that is associated with the tree as the mother goddess. Cow is also closely related to rain and water in mythology. The myth of the god of clouds and rain can be deduced from it according to the myth of Indra and Trita Aptie.
In Dinkard, Fereydoun turns the Mazandaranis into stones. At the command of Ormazd, he firmly binds Zahak like a stone in a cave and achieves happiness and kingship, and the Imamzadeh of Shahzid stones the cattle ranch and cows.
The village of Shahzid is located on the border between the forest and the mountains without trees. In other words, the rainy clouds of the north remain behind the Alborz mountains in this region and collide with each other.
Forest and tree: "In mythology, the forest is a psychological realm having a feminine origin, the place of examination and knowing the unknown dangers and darkness, and the entry to the dark or symbolic haunted area" (Cooper, 2013, p. 110). The relation of forest with fertility, rain, and water could be another confirmation of the main roots of the myths in these two stories.
Snake: "Snakes guard the thresholds and temples, and all the gods depend on them. The two snakes represent the contradictions in the duality that eventually lead to unity" (ibid., p. 349). In the story of Fereydoun, a snake has grown on Zahak and makes him a demonic creature. "According to a version, Fereydoun was a three-headed snake that overcame another three-headed snake, namely Zahak" (Shamisa, 2015, p. 261).
Some scholars consider the word Fereydoun to mean having three spiritual, physical, and medical powers. These three attributes can be found to some extent in Imamzadeh Shahzid: having the spirit of a fighter and purity, being a master and fighting enemies, the symbolic tool of iron with changes in the Galesh's ax, the rosary's medical potentiality and the healing power of the water, and the magical ability in stoning cattle.
The title of Shah, which is used in the Iranian culture for Imams, their sons, and the Sufi followers is remarkable so far as the mythological semiotics is concerned, and it can be analyzed with regards to the story of Fereydoun.
References
Introduction
Some studies have been done on the mythical story of Fereydoun and its comparison with mythology, but they are not comparative with regards to a story from the post-Islamic period and Islamic myths.
The main question of the research is whether a connection can be found between the story of the myth of Fereydoun and the story of Imamzadeh Shahzid. Could this connection be based on a myth?
In addition to Shahnameh's narration of Fereydoun's story, the summary narration of the people of Mazandaran is that: Fereydoun's mother hides him in the forest in a crack of an old tree when he is born. Every day, the cow goes near the tree and Fereydoun, the child, drinks milk from the cow. The owner of the cow notices and takes the child with him. "The cow loved Fereydoun and allowed Fereydoun to ride him."
Zayd ibn Musa ibn Ja'far is one of the Imamzadehs of Amol. Imamzadeh, fleeing from the enemies to the south of Amol, takes refuge in an old tree in a mountainous and forested area. The cow is commanded by God to go to the tree every day so that the gentleman can milk it. Galesh notices and strikes him with an ax and runs away. The prince curses Galesh and the ranch is stoned with all the cows. The Galesh family is also displaced. According to the story, the prince was a four-year-old child.
It is said that the servant of Astana Shahzid seeks water on the way during prayers to perform ablutions. At the same time, a pitcher and rosary descends on him from the sky. Saif performs ablution from the water of the pitcher and prays next to the rosary. The pitcher disappears, but the rosary is removed safely, and whenever the disease comes, the rosary is put in some water and the rosary water is drunk by the patient. According to the villagers, there are two green snakes with a cockatiel on the guard of Shahzid threshold, its spring, atmosphere, and water reservoir.
Mythical elements
Cow: Cow has been one of the ritual animals in ancient Iran. In the story of Fereydoun and Shahid, the main point is milking a cow, which goes back to the "mother goddess" of cows and raising humans. Since the prince emerges from the crack of the tree, it can be a symbol of the womb that is associated with the tree as the mother goddess. Cow is also closely related to rain and water in mythology. The myth of the god of clouds and rain can be deduced from it according to the myth of Indra and Trita Aptie.
In Dinkard, Fereydoun turns the Mazandaranis into stones. At the command of Ormazd, he firmly binds Zahak like a stone in a cave and achieves happiness and kingship, and the Imamzadeh of Shahzid stones the cattle ranch and cows.
The village of Shahzid is located on the border between the forest and the mountains without trees. In other words, the rainy clouds of the north remain behind the Alborz mountains in this region and collide with each other.
Forest and tree: "In mythology, the forest is a psychological realm having a feminine origin, the place of examination and knowing the unknown dangers and darkness, and the entry to the dark or symbolic haunted area" (Cooper, 2013, p. 110). The relation of forest with fertility, rain, and water could be another confirmation of the main roots of the myths in these two stories.
Snake: "Snakes guard the thresholds and temples, and all the gods depend on them. The two snakes represent the contradictions in the duality that eventually lead to unity" (ibid., p. 349). In the story of Fereydoun, a snake has grown on Zahak and makes him a demonic creature. "According to a version, Fereydoun was a three-headed snake that overcame another three-headed snake, namely Zahak" (Shamisa, 2015, p. 261).
Some scholars consider the word Fereydoun to mean having three spiritual, physical, and medical powers. These three attributes can be found to some extent in Imamzadeh Shahzid: having the spirit of a fighter and purity, being a master and fighting enemies, the symbolic tool of iron with changes in the Galesh's ax, the rosary's medical potentiality and the healing power of the water, and the magical ability in stoning cattle.
The title of Shah, which is used in the Iranian culture for Imams, their sons, and the Sufi followers is remarkable so far as the mythological semiotics is concerned, and it can be analyzed with regards to the story of Fereydoun.
References
Cooper, J. S. (2013). Culture of ritual symbols (translated into Farsi by Roghaye Behzadi). Scientific.
Kazazi, M. J. (2011). Dream, epic, myth (in Farsi). Markaz Publishing.
Shamisa, S. (2015). Expression (in Farsi). Mitra.
Shamisa, S. (2015). Expression (in Farsi). Mitra.
Abdol Reza Shirdast, Gholam Reza Pirouz ,
Volume 9, Issue 38 (5-2021)
Volume 9, Issue 38 (5-2021)
Abstract
Tone is an inclusive term with manifold definitions. Each researcher, therefore, interprets it differently depending on how he/she approaches it in the text. In fact, tone is the echo of the writer or poet’s voice communicating with those who are willing to hear such mesmerizing songs. As a principal element, tone is divided into many minor (local) tones. In this research, colloquial tone has been examined in various stylistic tendencies and genres of present-day Mazandaran poetry. To this purpose, researchers have introduced, classified, and analyzed the processing techniques of tone in the poetry of forty Persian poets from 1972-2021. Findings indicate that in order to achieve colloquial tone, Mazandarani poets have benefitted from five main techniques (framework, sound, music, language, and rhetoric) and 25 minor techniques in their poetry. Given the research data, the musical features and four minor techniques have had significant frequencies. Moreover, regarding linguistic techniques, local-ethnic and humorous tones are found to be significantly frequent. Research methodology used in this study is mixed method (qualitative and quantitative) which makes use of reference documents and reliable Internet sites.
Aref Kamarposhti, Maryam Soleymanpour,
Volume 10, Issue 47 (12-2022)
Volume 10, Issue 47 (12-2022)
Abstract
The biography of Amir Pazvari, the most famous vernacular poet of Mazandaran, is accompanied by many speculations due to the lack of documents in history and literature, and the attribution of collected Amiris to Amir Pazvari is also debatable. Therefore, this paper aims to provide a different representation of this vernacular poet and his poems by examining the studies conducted on Amir Pazvari and Amiri. Criticism and analysis in various studies show that due to the vagueness of the poet's life, the uncertainty of the time and place of his death, and the doubts about the accuracy or inaccuracy of the attribution to Pazvar, the identity of the poet who became famous as Pazvari should be viewed doubtfully. Since there is no historical document showing Amir to be from Pazvar, the last name Pazwari was replaced with Mazandarani due to laxity and negligence. Also, in the oldest and most detailed version found, there is no famous Amiri to be cited as a representation of the poet's origin in Pazvar. The Amiris collected in Kanzalasarar Mazandarani, which was later published under the name "Amir Pazvari Divan", are not composed by Amir Pazvari himself. The existence of poems by other poets with reference to Mazandarani's Kanzalasarar, the study of Amiri's stylistics, especially the contrast between the antiquity and the novelty of using verbs and words, the disagreement of researchers on the rhythm and format, as well as the difference in the number of Amiri's published, confirm this idea.
Hamoon Mahdavi, Mohammad Ali Khabari,
Volume 10, Issue 48 (12-2022)
Volume 10, Issue 48 (12-2022)
Abstract
The theorists of intertextuality observed a new meaning of the text that there is no text without a pretext, that the text is not closed, independent and self-sufficient, and that every text is a memory of other texts. In this research, we investigated the ritual and performance in the ceremony of "Tir-ma-size Sho" in Mazandaran. Considering this ritual as a text, and using Genette's transtextuality, the effect of this ritual from previous texts (hypertextuality) was investigated and the role of different texts in the performance of this ritual (intertextuality) was discussed. The purpose of this research is to study the relationship between ritual and drama in order to answer the following question: What is the co-presence of ritual and drama in "Tir-ma-size Sho" from the aspect of transtextuality? The article is done in a descriptive and analytical way borrowing Genette's transtextuality approach based on library research. The hypothesis indicated that in the transtextual relationships of "Tir-ma-size" ceremony, there is a co-presence of various systems such as the dramatic and ritual system with the pretext derived from the mythological sources. The action of "trifunctional" based on “Sovereignty”, “Military” and “Productivity” can be checked in this ritual. The practical battle of good and evil is a dramatization of Tishtar's fight with the demon of drought. It is also a manifestation of the battle with the demon, the enemy of the vegetable gods and plants. "Laal Shu" can be seen as the continuation of Arash's life in the form of a plant symbol that brings existence, birth, and life to people.
Mahdi Ahmadpour Kandsar, Firooz Fazeli, Mahmood Ranjbar,
Volume 11, Issue 53 (11-2023)
Volume 11, Issue 53 (11-2023)
Abstract
Introduction
Folk songs have been popular among Iranian people. These songs contain beliefs, rituals, affections and historical references and are popular all over the plateau of Iran, including Guilan. The most important feature of local songs is oral transmission from generation to generation. One of the most famous popular songs in the land of Guilan, which has attracted the attention and interest of the people, is the happy and romantic song "Ranaa". Ranaa's story has always been welcomed by the readers and listeners of Gil and Daylam, but also different regions of Iran, due to the charms hidden in its narrative text. The historical references in the story of the discovery of this song and the research and supplementary clauses in it have caused various readings, in such a way that some researchers consider the foundation of Ranaa's song to be extracted from two fascinating political, social and love stories. To illustrate, they believe that the origin of the song "gradually accompanied a group of Eshkevari immigrants to some places in the plains - east of Guilan and West of Mazandaran - and in later years by groups of skilled workers in carpentry. It has been transferred to a wider area than the mentioned points, that is, from Astara to Astarabad (Gorgan) - the two important centers of the wood industry and attracting cheap human labor at that time" (Sadr Eshkevari, 2010, p. 13).
It seems that one of the most important reasons for the survival of this song is the variety in the narration and the way of expressing its events. Since many years ago, various narratives have been expressed and recorded about Ranaa's song. During the field research in the land of Eshkevar, it was found that most of the old people of this region still sing this song with special enthusiasm in expressing the sufferings and hardships of the times. The historical and social origin of Ranaa's song has received less attention and discussion over time; one of the reasons for this is the chain of double narration from the beginning of the formation of the song until today. Ranaa's song has reached today's generation with two main narratives, and distinguishing right from wrong is complicated and difficult. This issue, along with other reasons, such as the political-social atmosphere prevailing the region of its composition, the hidden protest aspect of the song, includes the conflict between the singers of the region and the view of the lord and the serf. Also, the lack of attention in knowing the elements involved in the incident has caused injustice towards its main character, "Ranaa".
Research method
The current research is the result of analyzing and verifying the written data related to Ranaa song in Eshkevar region with field research and personal observations of the authors from 2017 to 2020. Since many of the narrators of the song are no longer alive, an attempt was made to analyze the tapes and audio files remaining from the native singers of Eshkevar and they were compared with the sources and data recorded in the library to make a more realistic analysis of the problem. To have interviews and conversations with native and local researchers of Eshkevar region, another way in obtaining and collecting information about Ranaa's song was established.
Discussion
There are two famous narratives about Ranaa: 1. Ranaa, the daughter of "Sargalash Hasan Khanesari" around the beginning of 1920, fell in love with a young man named Hadi from Sargalshan Surchani in the suburbs of Shuil village in the east of Guilan, but her father plans to send her to marry with a man named "Nowruz" from the people of "Kshaye Eshkevar" village. Rana is not satisfied with this forced relationship and does not agree with it. Hadi and Ranaa's affection is not far from the public eye, this issue causes conflict and chase between Nowruz and Hadi. In the meantime, the people of Nowruz's hometown (Lashkan) also support him, to the point that the conflict is extended to clans and settlements. Hadi along with his friends set fire to the wheat crop of the people of Lashkan. 2. In this group of narrations, Ranaa is nominated and represented by a Kolrodi shepherd named Nowruz. According to some Kurdish researchers, Aghjan, one of the fugitive rebels of the region, entered the village of Kolrod and, relying on his fighting abilities, provided the conditions for the formation of a group of "Ayars" who were known among the rebels and thieves of Eshkevar region. Among them is a person named "Hadi Sorchani" who is mentioned in the song as Hadi. Meanwhile, Kordaghjan accidentally falls in love with Ranaa and with the advice and help of his companion, Hadi, tries to possess Ranaa. "Therefore, Hadi, after consultation and confidential conversation, decided to steal Ranaa from her house and take her to Aghajan's residence by the order of Kurd Aghajan.
The result
In later narratives, the main focus is on the music of words, the destruction of Ranaa's personality, Kurd Aghajan and Hadi's confusion ultimately leads to the distortion of Ranaa's socio-political event in one of the historical crises. In the analysis of the main characters of the song, based on the text of the poems and first-hand narratives, a clearer and more accurate picture of the mentioned names and their role in the formation of the story was displayed. This issue invalidates the later narratives that depict the romantic and lovely side of the story with Kurd Aghajan's love relationship with Ranaa and her rivalry with Sargalash Hadi. The protest elements of Ranaa's song are closely related to the view of the masters towards the status of their subjects and subordinates. In Ranaa's past narrations, we specified how the master's control causes the collapse of pure attachments, and the destructive current, by distorting the narrative of history, erasing the story from the page or making it empty of the main aspects of the theme.
References
Ahmadpour Kandsar, M. (2019). Examining the content of the folk poems of East Guilan with the focus of Eshkevar Rahimabad. Master's thesis, Under the guidance of Firouz Fazeli, Guilan University.
Babakhani Leshkan, K. (2019). The bright shadows of Rana Dokhtar Eshkevar's life. Tadbir Roshan.
Payandeh Langroudi, M. (1995). Gil and Deylam’s culture. Amir Kabir.
Pourreza, F. (2018). Folkloric music of Gilan. Farhang Iliya.
Zolfaghari, H., & Ahmadi Kamarposhti, L. (2008). Typology of Iranian native songs. Literary Studies, 7 & 8, 170-143.
Folk songs have been popular among Iranian people. These songs contain beliefs, rituals, affections and historical references and are popular all over the plateau of Iran, including Guilan. The most important feature of local songs is oral transmission from generation to generation. One of the most famous popular songs in the land of Guilan, which has attracted the attention and interest of the people, is the happy and romantic song "Ranaa". Ranaa's story has always been welcomed by the readers and listeners of Gil and Daylam, but also different regions of Iran, due to the charms hidden in its narrative text. The historical references in the story of the discovery of this song and the research and supplementary clauses in it have caused various readings, in such a way that some researchers consider the foundation of Ranaa's song to be extracted from two fascinating political, social and love stories. To illustrate, they believe that the origin of the song "gradually accompanied a group of Eshkevari immigrants to some places in the plains - east of Guilan and West of Mazandaran - and in later years by groups of skilled workers in carpentry. It has been transferred to a wider area than the mentioned points, that is, from Astara to Astarabad (Gorgan) - the two important centers of the wood industry and attracting cheap human labor at that time" (Sadr Eshkevari, 2010, p. 13).
It seems that one of the most important reasons for the survival of this song is the variety in the narration and the way of expressing its events. Since many years ago, various narratives have been expressed and recorded about Ranaa's song. During the field research in the land of Eshkevar, it was found that most of the old people of this region still sing this song with special enthusiasm in expressing the sufferings and hardships of the times. The historical and social origin of Ranaa's song has received less attention and discussion over time; one of the reasons for this is the chain of double narration from the beginning of the formation of the song until today. Ranaa's song has reached today's generation with two main narratives, and distinguishing right from wrong is complicated and difficult. This issue, along with other reasons, such as the political-social atmosphere prevailing the region of its composition, the hidden protest aspect of the song, includes the conflict between the singers of the region and the view of the lord and the serf. Also, the lack of attention in knowing the elements involved in the incident has caused injustice towards its main character, "Ranaa".
Research method
The current research is the result of analyzing and verifying the written data related to Ranaa song in Eshkevar region with field research and personal observations of the authors from 2017 to 2020. Since many of the narrators of the song are no longer alive, an attempt was made to analyze the tapes and audio files remaining from the native singers of Eshkevar and they were compared with the sources and data recorded in the library to make a more realistic analysis of the problem. To have interviews and conversations with native and local researchers of Eshkevar region, another way in obtaining and collecting information about Ranaa's song was established.
Discussion
There are two famous narratives about Ranaa: 1. Ranaa, the daughter of "Sargalash Hasan Khanesari" around the beginning of 1920, fell in love with a young man named Hadi from Sargalshan Surchani in the suburbs of Shuil village in the east of Guilan, but her father plans to send her to marry with a man named "Nowruz" from the people of "Kshaye Eshkevar" village. Rana is not satisfied with this forced relationship and does not agree with it. Hadi and Ranaa's affection is not far from the public eye, this issue causes conflict and chase between Nowruz and Hadi. In the meantime, the people of Nowruz's hometown (Lashkan) also support him, to the point that the conflict is extended to clans and settlements. Hadi along with his friends set fire to the wheat crop of the people of Lashkan. 2. In this group of narrations, Ranaa is nominated and represented by a Kolrodi shepherd named Nowruz. According to some Kurdish researchers, Aghjan, one of the fugitive rebels of the region, entered the village of Kolrod and, relying on his fighting abilities, provided the conditions for the formation of a group of "Ayars" who were known among the rebels and thieves of Eshkevar region. Among them is a person named "Hadi Sorchani" who is mentioned in the song as Hadi. Meanwhile, Kordaghjan accidentally falls in love with Ranaa and with the advice and help of his companion, Hadi, tries to possess Ranaa. "Therefore, Hadi, after consultation and confidential conversation, decided to steal Ranaa from her house and take her to Aghajan's residence by the order of Kurd Aghajan.
The result
In later narratives, the main focus is on the music of words, the destruction of Ranaa's personality, Kurd Aghajan and Hadi's confusion ultimately leads to the distortion of Ranaa's socio-political event in one of the historical crises. In the analysis of the main characters of the song, based on the text of the poems and first-hand narratives, a clearer and more accurate picture of the mentioned names and their role in the formation of the story was displayed. This issue invalidates the later narratives that depict the romantic and lovely side of the story with Kurd Aghajan's love relationship with Ranaa and her rivalry with Sargalash Hadi. The protest elements of Ranaa's song are closely related to the view of the masters towards the status of their subjects and subordinates. In Ranaa's past narrations, we specified how the master's control causes the collapse of pure attachments, and the destructive current, by distorting the narrative of history, erasing the story from the page or making it empty of the main aspects of the theme.
References
Ahmadpour Kandsar, M. (2019). Examining the content of the folk poems of East Guilan with the focus of Eshkevar Rahimabad. Master's thesis, Under the guidance of Firouz Fazeli, Guilan University.
Babakhani Leshkan, K. (2019). The bright shadows of Rana Dokhtar Eshkevar's life. Tadbir Roshan.
Payandeh Langroudi, M. (1995). Gil and Deylam’s culture. Amir Kabir.
Pourreza, F. (2018). Folkloric music of Gilan. Farhang Iliya.
Zolfaghari, H., & Ahmadi Kamarposhti, L. (2008). Typology of Iranian native songs. Literary Studies, 7 & 8, 170-143.
Vida Saravi,
Volume 11, Issue 54 (12-2023)
Volume 11, Issue 54 (12-2023)
Abstract
Expectation is one of the most important themes of strange songs. These songs include important themes of human life, work and suffering, and at the same time, they have a long-standing connection with love and enamored of love. Popular literature is a science for recognizing people's conventions and beliefs, which includes myth, beliefs, tales, and songs. Folk songs are considered an important part of oral literature due to the protection of the cultural-national identity and the transmission of the feelings and opinions of our ancestors. In Mazandarani's poems, there are themes such as hidden expectation, which is rooted in the culture and daily life of the people of this country, but it has not been addressed so far. This research, with a descriptive-analytical method, aims to investigate the concept of expectation in Mazandaran popular literature couplets. By studying more than 1000 couplets of Mazandarani, 310 couplets, i.e. about 31%, have been seen within the expectation. Based on the library and field research findings, it can be said that songs with the concept of waiting in general, and waiting for the lover to return in particular have the highest frequency. Besides, the lover waits for spring to come and the flowers to bloom in order to see the lover, however, the lover waits for the return of the beloved from military service, while the family members wait for their loved ones to return to the city and the country. Finally, the hardworking farmer waits for the harvest and also the end of grief. In such a context, stories, the suffering of exile and reaching peace and freedom have a special place.
Javad Nazarimoghaddam,
Volume 12, Issue 55 (3-2024)
Volume 12, Issue 55 (3-2024)
Abstract
Many ideas and beliefs in a society are rooted in religion. How religion is reflected in society and culture is one of the interesting topics in the field of sociology of religion. The system of beliefs and values of the society is reflected in the literature and oral culture of the society. Proverbs, as one of the most important elements of oral literature, can be a reflection of the beliefs and attitudes of the society. In this study, an attempt was made to provide a relatively clear picture of how religion and its dimensions are represented in the popular literature of Gilan by examining Gilaki proverbs. This study was a descriptive and analytical study in which, while analyzing the content of 4562 proverbs in the East and West areas and the center of Gilan, 209 proverbs related to religion were selected. The data was categorized into several categories based on content and concepts. Based on the findings of the research, it can be said that the reflection of the four dimensions of belief (43%), rites and rituals and customs (24%), morality (16%) and Shariat (16%) are shown in the parables. It shows that in the popular culture of Gilan, besides paying attention to religious phenomena and rites and rituals, attention and emphasis is placed on the religious aspects and the functionalist role of religion in the society and the institutionalization of the spirit of religiosity and religious ethics in the society.
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